Huruf IIbrani Suplements
Dikumpulkan d dari b berbagai ssumber Pada b bulan T Tishrei 5 5777 (Oktober 2 2016)
Prakata
Baruch Ham’lameid Et Yadi L’sapeir Et Ha-Otiyot. ~ Blessed is the One who has taught my hand to scribe the letters ~
Buku Elektronik ini berisi beberapa artikel tambahan mengenai huruf Ibrani yang diambil dari Pustaka Maya. Hak Cipta ada pada Website yang bersangkutan, jadi materi tetap sama dengan bahasa asal. Dalam Buku Elektronik ini hanya disusun dalam sebuah file.
Penulis berharap buku ini dapat bermanfaat bagi siapapun yang ingin mengenal atau tertarik pada huruf Ibrani lebih lanjut.
Brachot V’shalom! Andhi Prasetyo, Boyolali Tishrei 5777 (Oktober 2016)
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Daf tar IIsi Cover Prakata ................................................................. ......................................................................................................... ........................................ Daftar Isi ................................................................ ........................................................................................................ ........................................ Bag. I
2 3
Gematria 1. Preface .............................................................. .............................................................................. ................ 2. The Standard Metho Method d .................................................. 3. Mispar Gadol Method ................................................... 4. Mispar Katan Metho Method d .................................................. 5. Ordinal Value Method ................................................. 6. At Bash Method ............................................................. 7. Mispar HaKadmi Method ........................................... 8. Mispar HaPerat HaPeratii Metho Method d ............................................ 9. Mispar Shemi Method ..................................................
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Bag. II STA”M 1. STA”M ................................................................ ................................................................................ ................ 2. Letter Aleph ................................................................ ..................................................................... ..... 3. Letter Beis ................................................................. ......................................................................... ........ 4. Letter Gimel ................................................................ ..................................................................... ..... 5. Letter Daled ................................................................ .................................................................... .... 6. Letter Heh ................................................................ ........................................................................ ........ 7. Letter Vov ................................................................ ........................................................................ ........ 8. Letter Zayin ................................................................ ..................................................................... ..... 9. Letter Ches ................................................................ ....................................................................... ....... 10. Letter Tes .................................................................. .......................................................................... ........ 11. Letter Yud ................................................................ ........................................................................ ........ 12. Letter Chof Kefufa ......................................................... 13. Letter Chof Peshuta ...................................................... 14. Letter Lamed .............................................................. .................................................................. .... 15. Letter Mem Pesuch Pesucha a ..................................................... 16. Letter Mem Stumah ..................................................... 17. Letter Nun Kefufa .........................................................
16 17 18 18 19 19 20 21 21 22 22 23 23 24 25 26 26
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18. 19. 20. 21. 22. 23. 24. 25. 26. 27. 28. 29. 30.
Letter Nun Peshut Peshuta a ...................................................... Letter Samech ............................................................. ................................................................. .... Letter Ayin ................................................................ ....................................................................... ....... Letter Pay Kefufa .......................................................... Letter Pay Peshut Peshuta a ....................................................... Letter Tzadi Kefufa ....................................................... Letter Tzadi Peshuta .................................................... Letter Kuf ................................................................. ......................................................................... ........ Letter Reish ................................................................ ...................................................................... ...... Letter Shin ................................................................ ........................................................................ ........ Letter Tof .................................................................. .......................................................................... ........ Notes .................................................................. .................................................................................. ................ Sample .............................................................. .............................................................................. ................
27 27 28 29 29 30 30 31 32 32 33 33 34
Bag. III Te’amim 1. Te’amim (Cantillation) ................................................ 2. Zarqa Tables ................................................................ .................................................................... .... 3. Cantill Cantillation ation Table .......................................................... 4. Sof Passuk ................................................................ ........................................................................ ........ 5. Etnachta ........................................................... ........................................................................... ................ 6. Segol (Trope (Trope)) ............................................................... ................................................................... .... 7. Shalshe Shalshelet let .................................................................. .......................................................................... ........ 8. Zakef Katan ................................................................ ..................................................................... ..... 9. Zakef Gadol ................................................................ ..................................................................... ..... 10. Tifcha ................................................................. ................................................................................. ................ 11. Rivia ................................................................... ................................................................................... ................ 12. Zarka (Trop (Trope) e) ............................................................. ................................................................. .... 13. Pashta ................................................................ ................................................................................ ................ 14. Yetiv ................................................................... ................................................................................... ................ 15. Tevir .................................................................... .................................................................................... ................ 16. Pazer .................................................................. .................................................................................. ................ 17. Karne Parah ................................................................ .................................................................... .... 18. Telish Telisha a Ketana / Gedola .............................................. 19. Geresh ................................................................ ................................................................................ ................ 20. Gershayi Gershayim m ................................................................ ........................................................................ ........ 21. Munach ............................................................. ............................................................................. ................
35 35 39 40 43 45 47 50 52 54 56 58 60 62 63 65 66 69 71 72 73
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22. 23. 24. 25. 26. 27. 28. 29. 30. 31.
Mercha ............................................................... ............................................................................... ................ 77 Mahpach ........................................................... ........................................................................... ................ 79 Darga ................................................................. ................................................................................. ................ 81 Kadma (Trope (Trope)) ........................................................... ............................................................... .... 83 Mercha Kefu Kefula la ............................................................. ................................................................. .... 84 Yerach ben Yomo .......................................................... 86 Torah Reading Table .................................................... 89 Additional Additi onal Cantill Cantillation ation ................................................ 89 Sequencess of Cantil Sequence Cantillations lations .......................................... 91 Cantillation Cantill ation Group ......................................................... 94
Shin with Four Legs
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Bag. II G Gematria
Hebrew Gematria Finding numerical relationships in the Texts
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1. Preface Within the earliest Jewish traditions, groups of Jewish scholars counted the number of times each letter appeared in the Scriptures (as well as the number of words, verses, paragraphs, etc.). These textual specialists were called Soferim Soferim (counters). The Soferim ensured that every Torah scroll (and the other books of the Tanakh) were identical, noting any unusual words and spellings and replicating them exactly through their scribal arts. Many Jews believe that Ezra the Scribe instituted many of the practices of the Soferim. In the medieval mystical text called Sefer Yitzirah: The Book of Creation, the Creation, the letters of the Alphabet are described as the stones used to build a house. They are called the "twenty two letters of foundation." This doctrine highlights the belief in the essential relationship between letters, words and the creative process. Gematria is a type of numerological study that may be defined Gematria is as one of more systems for calculating the numerical equivalence of letters, words, and phrases in a particular Hebrew text. These systems are used for the purpose of gaining insight into interrelating concepts and for finding correspondences between words and concepts. Although not identical, gematria is also in the same orbit as the so-called "Bible Codes" and "Equi-distant Letter Sequences" (ELS) that have become fashionable recently. According to most practitioners, there are several methods used to calculate the numerical value for individual words and phrases. When converted to a number, words/phrases can then be compared to other words/phrases and similarities drawn. I list the most common Hebrew gematria methods below.
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2. The Standard Method Each letter of the Hebrew alphabet is given an assigned number, beginning with one for Aleph, two for Bet, and so on. The tenth letter, Yod, is numerically equivalent to 10, and successive letters equal 20, 30, 40, and so on. The letter Kaf near the end of the alphabet, equals 100, and the last letter, Tav, equals 400. This method is sometimes called "Ragil." Using this method, you simply add up each letter of a given word (or phrase) to determine its numerical value:
Examples: The value of the word shalom (Shin, Lamed, Vav, Mem) is 300+30+6+40 = 376. The value of the Name YHVH (Yod, Hey, Vav, Hey) is 10+5+6+5 = 26. Note: In the Mispar Mussafi method, the value of a word (or phrase) is the standard gematria value plus the number of letters in the word (or phrase). For example, the value of the Page 8 8 o of 9 95
word shalom (Shin, Lamed, Vav, Mem) is 300+30+6+40+4 300+30+6+40+4 or 380, and the value of the Name YHVH (Yod, Hey, Vav, Hey) is 10+5+6+5+4 10+5+6+5 +4 or or 30.
3. Mispar Gadol Method The mispar gadol method gadol method is the same as the standard method (above) but counts the final forms (sofit) of the Hebrew letters as a continuation of the numerical sequence for the alphabet. These sofit letters are assigned from 500 to 900, respectively:
Example: The value of the word shalom shalom (Shin, Lamed, Vav, Mem) is 300+30+6+600 = 936. The value of the Name YHVH (Yod, Hey, Vav, Hey) is 10+5+6+5 = 26.
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4. Mispar Katan Method The mispar katan method katan method calculates the value of each letter as its standard value but simply truncates all of the trailing zeros. Thus the Gematria of Chet is 8, Tet is 9, but Yod is 1 (not 10), Kaf is 2 (not 20), etc., Peh is 8, Tsade is 9, Qof is 1, Resh is 2, and so on:
Examples: The value of the word shalom shalom (Shin, Lamed, Vav, Mem) is 3+3+6+6 = 18. The value of the Name YHVH (Yod, Hey, Vav, Hey) is 1+5+6+5 = 17.
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5. Ordinal Value Method Using this method, each of the 27 Hebrew letters is assigned an ordinal value from one to twenty-two. For example, Aleph (the first letter) equals 1, Bet (the second letter) equals 2, and so on up to the final Tsade (the last letter), which equals 27:
Examples: The value of the word shalom shalom (Shin, Lamed, Vav, Mem) is 21+12+6+24 = 63. The value of the Name YHVH (Yod, Hey, Vav, Hey) is 10+5+6+5 = 26.
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6. At Bash Method Using at Bash , each letter (of a word or phrase) is exchanged with its "opposite" letter and then the result is calculated. "Opposite" letters are determined by substituting the first letter of the Hebrew alphabet (Aleph) with the last letter (Tav), the second letter (Bet) with the next to last (Shin), and so on. The table below shows the values of individual letters:
Examples: The value of the word shalom (Shin, Lamed, Vav, Mem) is 2+20+80+10 = 112. The value of the Name YHVH (Yod, Hey, Vav, Hey) is 40+90+80+90 = 300.
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7. Mispar HaKadmi Method With the mispar hakadmi method, hakadmi method, each letter is the sum of the all the standard gematria letter values preceding it. Therefore, the value of Aleph is 1, the value of Bet is 1+2=3, the value of Gimmel is 1+2+3=6, and so on. The table below shows the values of individual letters:
Examples: The value of the word shalom shalom (Shin, Lamed, Vav, Mem) is 1095+105+21+145 = 1366. The value of the Name YHVH (Yod, Hey, Vav, Hey) is 55+15+21+15 = 106.
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8. Mispar HaPerati Method With mispar haperati , , the value of each letter is the square of its standard gematria value. Therefore, the value of Aleph is 1*1=1, the value of Bet is 2*2=4, the value of gimmel is 3*3=9, and so on. The table below shows the values of individual letters:
Examples: The value of the word shalom shalom (Shin, Lamed, Vav, Mem) is 90000+900+36+1600 = 92536. The value of the Name YHVH (Yod, Hey, Vav, Hey) is 100+25+36+25 = 186. Note: the Mispar HaKellali HaKellali method takes the standard gematria value of a word or phrase and squares its value. For example, the value for the word of Shalom (Shin, Lamed, Vav, Mem) is 300+30+6+40 or 376. Squaring that value yields 141,376.
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9. Mispar Shemi Method Millui or full-letter filling - The value of each letter is equal to the value of its name (the spelling of the name of the number comes from the Talmud). Therefore, the value of the letter Aleph is (1+30+80) = 111, Bet is (2+10+400) = 412, etc.
Examples: The value of the word shalom (Shin, Lamed, Vav, Mem) is 360+74+22+80 = 536. The value of the word chen (Chet, Nun) is 418+106 = 524. The value of the Name YHVH (Yod, Hey, Vav, Hey) is 20+6+22+6 = 54.
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Bag. III S STA”M 1. STA”M Hebrew Alphabet used in writing STA"M ( Sifrei Torah, Tefillin, and Mezuzos ). There are over 150 laws concerning how the Hebrew Alphabet must be written by the Jewish Scribe. Here, each letter has been scanned in separately, to point out some of the things to look for in good writing. Note: This is only a reference and is by no means complete. Please check your STA"M with a competent certified Sofer. Ask your Sofer if he is certified by the Vaad Mishmeres STA"M. For the purpose of this document, this deals only with the Beis Yosef's opinion on how the letters should be written. There are several letters where the Ari Z'al has a difference of opinion, as seen below.
The Alef Bais according to Beis Yosef
The letters that differ according to the Ari Z'al
The Alef Beith according to Sephardic tradition Note that there is also an exceedigly rare 4th style as well - a derivative of the Ari Z'al script called the Alter Rebbe's Ksav Page 116 o of 9 95
(Ksav means writing style) that is unique to the first Lubavitcher Rebbe of the Chassidic tradition. It is somewhat similar to Ari Z'al Ksav, but with the Alter Rebbe's modifications. Please understand that there is no original of the Alter Rebbe's script and there are, as a result, variations of opinion over what is the 'correct' version. Only a limited number of Lubavitcher sofrim feel they 'have it' and choose to write this ksav, and they are NOT all alike. Some rabbonim even at Chabad actually prefer straight Ari Ksav, since there is a clear, black-and-white, handed down version of that ksav and it is guaranteed 100% kosher to all schools. Only consider the Alter Rebbe's ksav if you are willing to depend on the sofer's knowledge and realize that some other sofer, when inspecting the writing, might prefer another variation. Also, it is highly recommend that you only have them checked by a Lubavitcher sofer, as many non-Lubavitcher sofrim might have never seen this ksav, and certainly not be knowledgable enough to inspect them.
2. Letter Aleph
The Letter Aleph has 3 distinct parts and 10 laws concerning its form. There is an upper Yud, a lower Yud, and a body that is similar to a Vov. There should be a clear connection from the body of the Aleph to the Yuds but none of the faces of the Yuds are allowed to touch its body. The face of the upper Yud should be slightly angled upward. The very bottom end of the Vov part should be slightly turned upwards. The size of the Aleph Page 117 o of 9 95
should be 3X3 kulmusim. Note: The word Kulmus(im) means the width of the tip of the quill.
3. Letter Beis
The Letter Beis is made of 3 parts. The size of the letter is 3X3 kulmusim. The space in the middle of the Beis should be exactly equal the width of the top and bottom lines, which is 1 kulmus.The Beis should have a small heel coming out of its back on the bottom, so that it is clearly distinguished that it is a Beis and not a Chof Kefufa. It should also have a single Tag (pronounced tahg) on top of its head on the left side. A Tag is a single, short line, which usually will have a "crown" at the top. (Click on the Beis to see it better. This Tag should not be on the very end of the left side, nor be made too large, or it can cause a number of different problems.)
4. Letter Gimel
The Letter Gimel has a head of a Zayin, and has a leg sticking out of it on bottom whose face points slightly upward. There should be three Tagin on its head. All of the corners of the head should be squared. The right leg should be slightly longer than Page 118 o of 9 95
the left one. The height of the Gimel should be three kulmusim. Originally, Sofrim made the Gimel with a long neck, so as to be able to put the top of the next letter near the head of the Gimel. Nowadays, we arch the back of the right leg slanting downwards towards the right, to avoid any problems and to create ample space.
5. Letter Daled
The Letter Daled has 2 main parts. There is a roof and a leg. If the heel which sticks out on the top right corner is missing, the letter is still kosher. We want there to be a heel sticking out so that the Daled is distinct from the Letter Reish. The roof should be 3 kulmusim long. There should be one Tag at the left end of the roof. (This Tag should not be on the very end of the left side, nor be made too large, because it can be a problem.) The leg should be slightly shorter than 3 kulmusim. kul musim.
6. Letter Heh
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The Letter Heh is basically a Daled which has an upside down Yud at the lower left hand corner, at an equal distance away from the roof as from the leg. The heel that was found on the roof of the Daled isn't necessary on a Heh, as even if the body looked like a Reish it would be kosher, but most Sofrim put a heel on top anyway. There should be one Tag at the left end of the roof. (This Tag should not be on the very end of the left side, nor be made too large, because it can be a problem.) Great care must be taken so that the left leg does not touch the roof of the Heh. If it does touch, even with an amount as thin as a hair, it would be invalid.
7. Letter Vov
The Letter Vov should be 1X3 kulmusim. The top right part of the Vov should be completely rounded, because if it's squared it would look like a Zayin. The face of the Vov should be straight up and down, not angled. Neither the head nor leg of the Vov should be made too long, because then it will look like another letter. (ie- a Reish or a Nun Peshuta)
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8. Letter Zayin
The Letter Zayin should be 1X3 kulmusim. It should have a completely squared head with 3 Tagin on it. The leg should be no longer than 3 kulmusim, as otherwise the Zayin can be mistaken for a Nun Peshuta.
9. Letter Ches
The Letter Ches is made up of 2 Zayins which are written next to one another and connected together on top. The right Zayin should have no Tagin. All of it's corners should be squared, except for the top right corner, which should be rounded. The left Zayin should have all of its corners squared, and instead of having 3 Tagin like a regular Zayin, it should have 1 Tag coming out of the upper left corner. The connection between the two Zayins is imperative, as if it's broken the letter will look like two Zayins instead of a Ches. Page 2 21 o of 9 95
10. Letter Tes
The Letter Tes has a size of 3X3 kulmusim. The left head of the Tes should look like the head of a Zayin, having completely squared corners and 3 Tagin on top of it. The lower left corner of the Tes should be squared as well. However, the lower right corner should be rounded. The right head of the Tes should curve inside the Tes, not far enough to touch the base of the Tes, but rather enough so that it's clear that it is curved inwards. The two heads of the Tes should not touch each other, as this would make it invalid.
11. Letter Yud
The Letter Yud is the smallest letter of the alphabet, yet it can be the trickiest to write properly. The Yud should have a size of 1X2 kulmusim. The Yud should have a small Tag on the top left corner. This Tag should not be made too tall, because it can cause the letter to be invalid. The top right corner should be clearly rounded. The leg should not be too long, because otherwise the Yud can turn into a Vov. There should be a small kotz sticking out of the bottom left corner of the head of the Page 2 22 o of 9 95
Yud. According to many Poskim, a Yud without this kotz is invalid. Note: A kotz is a small stick or thorn, and in this case it's used to represent a small point sticking out of the letter.
12. Letter Chof Kefufa
The Letter Chof Kefufa is one of the 5 letters which have a special letter which replaces it,when it is used at the end of a word. The Chof Kefufa has a size of 3X3 kulmusim. The upper and lower corners of it's back should be clearly rounded, so that there is no confusion on whether it's a Beis or Chof Kefufa. The space in the middle of the Chof Kefufa should be exactly equal the width of the top and bottom lines, which is 1 kulmus.
13. Letter Chof Peshuta
The Letter Chof Peshuta should have a roof which is no longer than 3 kulmusim. We should not lengthen its roof any further, nor make it shorter, as it could very possibly look like the Letter Reish or the Letter Vov. The leg of the Chof Peshuta should be a total of 5 ½ kulmusim,when measuring from the top of the Page 2 23 o of 9 95
Chof to its tip. If it is any shorter, it could look like the Letter Reish. The top right corner of the Chof Peshuta should be rounded, as it is similar to it's cousin, the Chof Kefufa, which has a rounded top corner.
14. Letter Lamed
The Letter Lamed is made up of two separate letters. There is a Chof Kefufa which is written within the lines, and then a Vov whose bottom point touches the very top left corner of the Chof Kefufa. The Letter Lamed, therefore, is one of the largest letters, and one must make sure that there is enough space above it, because if the body of the Vov must be shortened, it can become invalid. The Lamed's dimensions are 6 kulmusim in height, (that is, 3 kulmusim for the Chof Kefufa, and 3 kulmusim for the Vov) and 4 kulmusim in width.(That is- 3 kulmusim for the Chof Kefufa, and 1 kulmus for the Vov.) The top and bottom corners of the body of the Chof Kefufa should be rounded, and the space in the middle of the Chof Kefufa should be 1 kulmus.(Exactly like the rules given above for a Chof Kefufa.) Our minhag is not to complete the bottom section of the Chof Kefufa part of the Lamed, rather we stop somewhere between 1/2 to 3/4 of the way from the end. As long as there is a clear bottom section to the Lamed, it will be valid. There should also be a small kotz sticking out of the middle of the head of the Vov section of the Lamed. Page 2 24 o of 9 95
15. Letter Mem Pesucha
The Letter Mem Pesucha is another letter which has a special letter which replaces it when it is used at the end of a word. The Mem Pesucha is made up of two different letters- a Chof Peshuta, and a Vov. The dimensions of the Mem Pesucha are 3X3 kulmusim. That is, that the top and bottom of the Chof Peshuta part of the Mem Pesucha, are only 2 kulmusim in length. The top right corner should be rounded, (like a Letter Chof Peshuta should be,)and the right leg would then go down until it reaches a total length of 3 kulmusim. By the same token, the space in middle of the Mem Pesucha should equal 1 kulmus. The bottom right corner of the Mem Pesucha should be squared. The Vov part of the Mem Pesucha, (which is sometimes referred to as the "nose") should be angled so that the face of the Vov is angled upward. At the point where the head of the Vov connects to its leg, is where the Vov should touch the Chof Peshuta part of the Mem Pesucha. There should be a clear notch in between the two heads of the letters. Also, the connection between them should be thick, so that it's clear they are connected. At the bottom, the Vov and Chof Peshuta must not touch at all, as that would invalidate the letter since it would become a Mem Stumah.
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16. Letter Mem Stumah
The Letter Mem Stumah comes at the end of a word that ends with a Mem. The Mem Stumah has a size of 3X3 kulmusim. The top right corner should be rounded, while the remaining corners must be squared. The box of space inside the Mem Stumah should also be completely squared, as we want to make the Mem Stumah clearly different from a Samech. There should be a slight protrusion from the top left corner which should extend a little bit past the body of the Mem Stumah. There should not be any splits along any portion of the Mem Stumah, as this would render it invalid.
17. Letter Nun Kefufa
The Letter Nun Kefufa is another letter which has a special letter which replaces it when it is used at the end of a word. The Nun Kefufa should have a head like a Zayin, that is- a square head with 3 Tagin on it. Originally, Sofrim made the Nun Kefufa with a long neck, so as to be able to put the top of the next letter near the head of the Nun Kefufa. Nowadays, we Page 2 26 o of 9 95
arch the back of the right leg slanting downwards towards the right, to avoid any problems and to create ample space. The base of the Nun Kefufa should extend beyond the end of the head. The total size of the Nun Kefufa should therefore be 1 1/2 X3 kulmusim.
18. Letter Nun Peshuta
The Letter Nun Peshuta comes at the end of a word that ends with a Nun. The size of the Nun Peshuta should be 1X5 kulmusim. It should have a completely squared head with 3 Tagin on it. The leg should be no shorter than 4 kulmusim, as otherwise the Nun Peshuta can be mistaken for a Zayin.
19. Letter Samech
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The Letter Samech has a size of 3X3 kulmusim. The space in the middle of the Samech should be exactly equal the width of the top and bottom lines, which is 1 kulmus. The left corner should be squared, while the other corners must be rounded, inside and outside. Great care should be taken to ensure that the corners are clearly rounded, so that the Samech doesn't look like the Mem Stumah. There should be a slight protrusion from the top left corner which should extend a little bit past the body of the Samech. There should not be any splits along any portion of the Samech, as this would render it invalid.
20. Letter Ayin
The Letter Ayin has a size of slightly larger than 3X3 kulmusim. The Ayin is made of 5 parts, and each part should be distinct. The right leg has the head of a Vov, with a rounded top right corner. The left leg should have the head of a Zayin. (According to the Arizal,the left leg has the head of a Vov.) The head should have 3 Tagin on it, like a regular Zayin. The heads should not touch one another at all. The Ayin has a slight slant toward the right, so that letters can fit comfortably next to it. The bottom portion which the two legs fit into should be thick and have a protrusion, to show that the Ayin is not a Tes, and also to create more room for nearby letters.
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21. Letter Pay Kefufa
The Letter Pay Kefufa has a number of different parts. The overall size should be 4X3 kulmusim. The Pay should have an upside down Vov at the top left end, and the head of the Vov should enter the face of the Pay. If you look closely, you should see the outline of a Letter Bais (complete with its bottom heel) inside the empty part inside the Pay. It is because sofrim want so much to get this outline of the Bais in, that the letter is written slightly larger than the other letters. The space between the bottom of the upside down Vov and the top of the base of the bottom of the pay should be 1/2 a kulmus, in order to assure that the Vov doesn't touch the bottom. botto m.
22.Letter 22. Letter Pay Peshuta
The Letter Pay Peshuta comes at the end of a word which ends with a Pay. It has a size of 3X5 kulmusim. The Pay Peshuta is similar to the Pay Kefufa, as they both have an upside down Page 2 29 o of 9 95
Vov at the top left end, whose head (of the Vov) enters the face of the Pay. Where they differ is in the right leg, whereas the Pay Kefufa has a curled body, the right leg of the Pay Peshuta goes straight down. Of course, the head of the Vov should not touch the right leg, and the right leg should be clearly longer than the upside down Vov, since it otherwise can be invalid.
23. Letter Tzadi Kefufa
The Letter Tzadi Kefufa consists of pieces from 2 different letters. There is a Nun Kefufa, which is more curved than it normally is, and has a bigger bottom base than normal. There is also a Yud, which is resting on the back of the Nun part. The left head should have 3 Tagin on it, like a regular Zayin. The overall size should be 3X3kulmusim. The heads should not touch one another at all.
24.Letter Tzadi Peshuta
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The Letter Tzadi Peshuta comes at the end of a word that ends with a Tzadi. It has a size of 3X5 kulmusim. The Tzadi Peshuta is similar to the Tzadi Kefufa, as they both have a Yud resting on the Nun part at the right side. Where they differ is in the left leg, whereas the Tzadi Kefufa has a curled body, from the Nun Kefufa part, the left leg of the Tzadi Peshuta goes straight down, like a Nun Peshuta. Of course, the head of the Yud should not touch the left head, and the right leg should be clearly longer than where the Yud meets the body, since it otherwise can be invalid.
25.Letter 25. Letter Kuf
The Letter Kuf is made up of two separate letters. There is a Chof Kefufa which is written within the lines, and then a part that is longer than a Zayin, but not as long as a Nun Peshuta,which is angled next to the Chof Kefufa. The Letter Kuf, therefore, is a large letter, and one must make sure that there is enough space below it, in order to have ample room for Zayin part of the Kuf. The Kuf's dimensions are 5 kulmusim in height, (that is, 3 kulmusim for the Chof Kefufa, and 4 kulmusim for the Zayin) and 3 kulmusim in width. (That is- 3 kulmusim for the Chof Kefufa, and the Zayin section is neatly placed and angled slightly under the roof of the Chof Kefufa section.) The top and bottom corners of the body of the Chof Kefufa should be rounded, and the space in the middle of the Chof Kefufa should be 1 kulmus. (Exactly like the rules given above for a Chof Kefufa.) We do not to complete the bottom Page 3 31 o of 9 95
section of the Chof Kefufa part of the Kuf, rather we stop about 1/4 to 1/2 of the way from the beginning. As long as there is a clear bottom section to the Kuf, it will be valid. There should be one Tag at the left end of the roof. (This Tag should not be on the very end of the left side, nor be made too large, because it can be a problem of possibly looking like a Lamed.) The two parts of the Kuf should not touch each other at all. If they do touch, even with an amount as thin as a hair, it would be invalid.
26.Letter 26.Letter Reish
The Letter Reish should have a size of 3X3 kulmusim. However, Sofrim are usually careful to make the roof slightly longer than the leg, so that the Reish cannot have a problem of appearing like a Chof Peshuta. The top right corner should be clearly rounded, so as to avoid any problems of looking like a Daled.
27. Letter Shin
The Letter Shin is easily distinguished by its three heads. The spacing of the Shin is something that takes practice for a Sofer Page 3 32 o of 9 95
to write correctly. The leftmost leg should have the head of a Zayin. (According to the Arizal, the left leg has the head of a Vov.) The head should have 3 Tagin on it, like a regular Zayin. The heads should not touch one another at all. Also, there should be no more than 3 heads in total, or the letter would be rendered invalid. The bottom should come to a point, and not be rounded or flat.
28.Letter 28. Letter Tof
The Letter Tof consists of 3 parts. The total size of the Tof should be 3X3 kulmusim. The right leg is very similar to that of the Letter Daled and Heh, which also have a protrusion of the roof on the top right corner. The left leg is an upside down Vov, whose face points outward. Sofrim try to be careful not to let the head of the left leg protrude past the end of the roof, as it could cause spacing problems with nearby letters.
29.Notes 29.Notes When we refer to a leg having a certain size, we almost always refer to it as the size from the top of the letter (including its roof) to the bottom of the leg. An example is the Letter Daled, which has a total leg height of just under 3 kulmusim. The Letters Gimel, Zayin, Tes, Nun, Ayin, Tzadi and Shin are called by the abbreviation "Shatnez Getz" to show that they all have 3 Tagin on their respective heads.(On letters with more than one head, it's the square head.)
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30. Sample
Teks in Mezuzah (Deuteronomy 6:4-9; Deuteronomy 11:13-21)
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Bag. IIII T Te’amim 1. Te’amim (Cantillation) Cantillation is the ritual chanting of readings from the Hebrew Bible in in synagogue synagogue services. services. The The chants are written and notated in accordance with the special signs or marks printed in the Masoretic text of the Hebrew the Hebrew Bible (or (or Tanakh) Tanakh) to to complement the letters and vowel points. These marks are known in English as accents or trope symbols, and in Hebrew as ta’amei ha-mikra or just te’amim. Some of these signs were also sometimes used in medieval manuscripts of the Mishnah. The musical motifs associated with the signs are Mishnah. known in Hebrew as niggun or neginot (not to be confused with Hasidic nigun) nigun) and in Yiddish as trop: the word trope is sometimes used in English with the same meaning.
Genesis 1:9: God said, "Let the waters be collected." Letters in black, vowel points and points and d'geshim d'geshim (gemination (gemination marks) in red, cantillation cantillation in in blue.
2. Zarqa Tables For learning purposes, the t'amim are arranged in a traditional order of recitation called a "zarqa table", showing both the names and the symbols themselves. These tables are often printed at the end of a Chumash (Hebrew Pentateuch). The order of recitation bears some relation to the groups in which the signs are likely to occur in a typical Biblical verse, but Page 3 35 o of 9 95
differs in detail between different communities. Below are traditional Ashkenazi and Sephardi orders, though variations are found in both communities.
Ashkenazic
Sephardic
Meanings of the names Azla: "Going away", because it is often the end of the phrase 'Qadma ve'Azla'. Darga: "Trill" from its sound, or "step" from its shape. Etnachta/Atnach: "Pause, rest" because it is the pause in the middle of a verse.
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Geresh: "Expulsion, driving out". So called because it is often "partnered" with the Qadma (as an Azla) but here appears on its own, "separated." Gershayim: Double Geresh, from its appearance. Mahpach: "Turning round". In old manuscripts, it was written like a U on its side, hence like someone doing a U turn. In printed books, it has a V shape, possibly because that was easier for the early printers to make. In Eastern communities it is called shofar mehuppach, "reversed horn", because it faces the other way from shofar holech (munach) Mercha: "Lengthener", because it prolongs the melody of the word that follows. In modern usage it sometimes means "comma", but this usage is taken from the cantillation sign. Mercha-kefulah: Kefulah means "double", because it looks like two merchas together. There are only five in the whole Torah: Gen. 27:25, Ex. 5:15, Lev. 10:1, Num. 14:3, Num. 32:42. Munach: "Resting", because the shape is a horn lying on its side. (In Eastern communities it is called shofar holech, horn going forward.) Munach legarmeh (munach on its own) is a disjunctive, used mainly before revia, but occasionally before a pazer. It may be distinguished from ordinary munach by the dividing line (pesiq) following the word. Pashta: "Stretching out", because its shape is leaning forward (or in reference to a hand signal). Pazer: "Lavish" or "strew", because it has so many notes. Qadma: "To progress, advance." It always occurs at the beginning of a phrase (often before other conjunctives) and its shape is leaning forward. In particular it is the first member of the Qadma ve-Azla pair. Revia: "Quarter" or "fourth", probably because it splits the half verse from the start to etnachta (or etnachta to the end) into quarters (as it ranks below zaqef, the main division within the half verse). Other possibilities are that it came fourth in the zarqa table (in the current Ashkenazi
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table it comes fifth) or that it was regarded as occupying the fourth level in the hierarchy. Its apparent appropriateness to the square or diamond shape of the symbol is coincidence: in most manuscripts, it is simply a point. Segol: "Bunch of grapes" (from its shape, which looks like a bunch of grapes). Shalshelet: "Chain", either from its appearance or because it is a long chain of notes. There are only four in the whole Torah: Gen. 19:16, 24:12, 39:8; Lev. 8:23. Sof Pasuq: "End of verse": it is the last note of every verse. It is sometimes called silluq (taking leave). Telisha Qetannah/Gedolah: "Detached" because they are never linked to the following note as one musical phrase; Qetannah = small (short); Gedolah = big (long). Tevir: "Broken", because it represents a break in reading (in some traditions there is a big jump down in pitch between the first and second notes). Tifcha: "Diagonal", or "hand-breadth". In old manuscripts, it was written as a straight diagonal line. In printed books, it is curved, apparently to make it a mirror image of Mercha, with which it is usually paired (the two together could be regarded as forming a slur). The name "tifcha" may be an allusion to a hand signal. Yetiv: "Resting" or "sitting", because it may be followed by a short pause, or more probably because the shape is like a horn sitting up. (In the Italian tradition, it is called shofar yetiv, sitting horn.) Zaqef Qaton/Gadol: "Upright" (from their shape, or in allusion to a hand signal); Qaton = small (short); Gadol = big (long). Zarqa: "Scatterer", because it is like a scattering of notes. Numbers 35:5 (in Parshat Mas'ei) has two notes found nowhere else in the Torah:
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Qarne Farah: "Horns of a cow" (from its shape), sometimes called pazer gadol. Yerach ben Yomo: "Moon one day old" (because it looks like a crescent moon), sometimes called galgal (circle).
3. Cantillation Table
Sof Passuk
Paseq
Etnachta
Segol
Shalshelet
Zaqef Qatan
Zaqef Gadol
Tifcha
Revia
Zarqa
Pashta
Yetiv
Tevir
Geresh
Geresh Muqdam
Gershayim
Qarney Para
Telisha Gedola
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Pazer
Atnah Hafukh
Munach
Mahapakh
Merkha
Merkha Kefula
Darga
Qadma
Telisha Qetana
Yerah Ben Yomo
Ole
Iluy
Dehi
Zinor
4. Sof Passuk Form
Ashkenazi
Sefardi
Italian
Teimani
Sof Pasuq/ Silluq
Sof Pasuq
Sof Pasuq
Silluq
The Sof passuk (Hebrew: , end of verse, also spelled Sof pasuq and other variant English spellings, and sometimes called silluq) is the the cantillation mark that occurs on the last word of every verse in the Tanakh. Tanakh. Some short verses contain only members of the sof passuk group. Page 4 40 o of 9 95
The Sof passuk can be preceded by the marks Mercha, marks Mercha, Tipcha, Tipcha, and Mercha in that order, including either all or some of these. However, these Merchas and Tipchas do not have the same melody as those in the Etnachta group. Altogether, there are five possible arrangements how these can appear.
Total occurrences Book Torah
Number of appearances 5,852
Genesis
1,533
Exodus
1,213
Leviticus
859
Numbers
1,288
Deuteronomy
959
Nevi'im
4,975
Ketuvim
3,599
Melody Basic
Sof Parasha
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In the Ten Commandments There is controversy over the use of the Sof Passuk during the reading of the Ten the Ten Commandments. Commandments. There are two versions of the trope sounds for the Ten Commandments, one that divides them into 13 verses, based on the number of Sof Passuk notes, and the other that divides them into ten verses, the actual number of commandments. It is for this reason that not all commandments actually have a sof passuk at the end of their own names. Other versions Sof parasha The end of a single reading (aliya) (aliya) which is chanted in a different melody, thereby giving the sound of finality to the reading. The tune for the end of the aliya can be applied to different verses based on different reading schedules, including the full parasha (on Shabbat during Shacharit in most synagogues), a partial reading (as is read on weekdays, Shabbat Mincha, Shabbat Mincha, and and the selected readings of various holidays), or the Triennial the Triennial cycle. Sof Sefer At the conclusion to any sefer of the Torah, a special tune is used for the words "Hazak Hazak Venithazek" after the reader finishes the book. These words are recited first by the congregation and then repeated by the reader. References: The Art of Cantillation, Volume 2: A Step-By-Step Guide to Chanting Haftarot, by Marshall Portnoy, Josée Wolff, page 15 The Art of Cantillation, Volume 2: A Step-By-Step Guide to Chanting Haftarot, by Marshall Portnoy, Josée Wolff, page 16
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Concordance of the Hebrew accents in the Hebrew Bible: Concordance ..., Volume 1, by James D. Price, page 6 Concordance of the Hebrew accents in the Hebrew Bible: Concordance ..., Volume 1, by James D. Price, page 5 Essays on the writings of Abraham ibn Ezra by Michael Friedländer, Abraham ben Meïr Ibn Ezra, pages 113-14 Aspects of orality and formularity in Gregorian chant by Theodore Karp, page 25 http://mattrutta.blogspot.com/2006/07/dvar-torah-matotmasei.html https://www.rabbinicalassembly.org/sites/default/files/public/ halakhah/teshuvot/19912000/goldberg_hazak.pdf Unicode Character 'HEBREW PUNCTUATION SOF PASUQ' (U+05C3)
5. Etnachota Form
Ashkenazi
Sefardi
Italian
Teimani
Etnachta
Atnach
Atnach
Etnacha
Etnachta (Hebrew: , with variant English spellings) is one of the most common cantillation marks in the Torah and Haftarah. It Haftarah. It is the anchor for the Etnachta group, which in full consists of four different trope sounds, not all of which are always present. These are Mercha, Tipcha, Munach, Munach, and its namesake Etnachta. The Etnachta group marks the end of the first segment of a verse. Therefore, it never occurs more than once in a single verse. An example is in the very first verse of the Book of Genesis, the statement that God created is marked with an Genesis, Etnachta, showing the completion of God’s creation. The Page 4 43 o of 9 95
Hebrew word translates into English as pause. This name is given because of its central location within a verse.
The Etnachta group The following variations of the Etnachta group can occur: a. Mercha, Tipcha, Munach, Etnachta b. Mercha, Tipcha, Etnachta c. Tipcha, Munach, Etnachta d. Tipcha, Etnachta e. Munach, Etnachta f. Etnachta In other words, the Tipcha can occur without a Mercha, but not vice versa. The Etnachta can occur without Munach, but not vice versa. And the Etnachta can occur without a Tipcha, but not vice versa. The Munach is normally included when the word bearing the Munach is closely related to the word bearing the t he Etnachta.
Total occurrences Book Torah
Number of appearances 5483
Genesis
1466
Exodus
1145
Leviticus
813
Numbers
1151
Deuteronomy
908
Nevi'im
4796
Ketuvim
2933
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Melody
References: Chanting the Hebrew Bible By Joshua R. Jacobson, page 167 Aspects of Jewish Metarational Thought By Martin Sicker, page 61 The Art of Cantillation, Volume 2: A Step-By-Step Guide to
Chanting Haftarot … By Marshall Portnoy, Josée Wolff, page 12 Chanting the Hebrew Bible By Joshua R. Jacobson, page 144 Concordance of the Hebrew accents in the Hebrew Bible: Concordance ..., Volume 1 By James D. Price, page 6 Concordance of the Hebrew accents in the Hebrew Bible: Concordance ..., Volume 1 By James D. Price, page 5
6. Segol (Trope) Form
Ashkenazi Segol
Sefardi Segolta
Italian Sherei
Teimani -
Segol (Hebrew: also known as Segolta, with variant English spellings), is a cantillation mark found in the Torah, Haftarah, and other books of the Hebrew Bible. Haftarah, Bible. The Segol occurs together with a preceding Zarka, Zarka, sometimes with a Munach preceding one or both. The Segol group is considered to be a disjunctive. It occurs in place of the Katan group or a Zakef gadol. gadol. It is the strongest disjunctive group ahead of the Etnachta the Etnachta group. Page 4 45 o of 9 95
The Hebrew word translates into English as bunch, referring to a bunch of grapes. This is reflected in its appearance as a three-dot symbol.
Total occurrences Book Torah
Number of appearances 368
Genesis
72
Exodus
79
Leviticus
55
Numbers
96
Deuteronomy
66
Nevi'im
181
Ketuvim
173
Melody
References: Concordance of the Hebrew accents in the Hebrew Bible: Concordance ..., Volume 1 By James D. Price, page 18 Chanting the Hebrew Bible By Joshua R. Jacobson, page 102 Concordance of the Hebrew accents in the Hebrew Bible: Concordance ..., Volume 1 By James D. Price, page 6 Concordance of the Hebrew accents in the Hebrew Bible: Concordance ..., Volume 1 By James D. Price, page 5
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7. Shalshelet Form
Ashkenazi
Sefardi
Italian
Teimani
Shalshelet
Shalshelet
Shalshelet
Shishla
The Shalshelet (Hebrew: ) is a cantillation mark found in the Torah. the Torah. It It is one of the rarest used, occurring just four times in the entire Torah, in Genesis 19:16, 24:12, and 39:8, and in Leviticus 8:23. Words accented with the shalshelet mark only occur at the beginning of the verse. The Hebrew word translates into English as chain. This shows the connection of the worlds by the links of a chain. The symbolism of the Shalshelet is that the subject of the story is wrestling with his inner demons and is undergoing some hesitation in his actions. It is rendered musically by a long and elaborate string of notes, giving a strong emphasis to the word on which it occurs.
Purpose The Shalshelet mark is said to be used for various purposes: In Genesis In Genesis 19:16, it 19:16, it is used on the word "VaYitmah'maH" (and he lingered), when Lot when Lot is lingering in Sodom in Sodom as it is marked for destruction, to show Lot's uncertainty. In Genesis 24:12, In 24:12, it is used on the word "VaYomar" (and he said), when Abraham' when Abraham'ss servant is trying to find a woman to marry Abraham's son Isaac, Isaac, to indicate the hesitation the servant shows. In Genesis 39:8, In 39:8, it is used on the word "VaY'maen" (and he refused), during Joseph' during Joseph'ss attempted seduction by Potiphar' by Potiphar'ss wife, to indicate Joseph's struggle against temptation.
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In Leviticus 8:23, 8:23, the Shalshelet is used because Moses was slaughtering an animal in preparation for the anointment of his brother and nephews as priests, as priests, a a position he coveted for himself. He is therefore sad he was not given this honor.
Grammatically it is equivalent to segolta, but is never preceded by a conjunctive accent or a disjunctive of a lower class. It is thus related to segolta in the same way as Zakef gadol is related to zakef to zakef katan, or katan, or Yetiv Yetiv to to Pashta. Pashta.
Total occurrences Book Torah
Number of appearances 4
Genesis
3
Exodus
0
Leviticus
1
Numbers
0
Deuteronomy
0
Nevi'im
2
Ketuvim
1
The shalshelet note occurs a total of 6 times in Tanakh. They are: Genesis 19:16, Genesis 24:12, Genesis 29:8, and
Leviticus 8:23,
-
Isaiah 13:8,
Amos 1:2,
Ezra 5:15.
Melody The Shalshelet has a melody similar to that of 3 Pazers. It has approximately 30 notes, though this number varies depending on the word on which it is used.
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References: Jacobson, J.R. (2005). Chanting the Hebrew Bible (Student Edition). Jewish Publication Society. p. 60. ISBN Edition). 9780827610484. Retrieved 9780827610484. Retrieved 2015-04-08. Kelley, P.H.; Mynatt, D.S.; Crawford, T.G. (1998). The Masorah of Biblia Hebraica Stuttgartensia: Introduction and Annotated Glossary. Eerdmans Glossary. Eerdmans Publishing Company. p. 147. ISBN 9780802843630. ISBN 9780802843630. Retrieved Retrieved 2015-04-08. Wolfson, E.R. (1995). Circle (1995). Circle in the Square: Studies in the Use of Gender in Kabbalistic Symbolism. State Symbolism. State University of New York Press. p. 211. 211. ISBN 9780791424056. ISBN 9780791424056. Retrieved Retrieved 2015-0408. Steinsaltz, R.A. (2007). Understanding the Tanya: Volume Three in the Definitive Commentary on a Classic Work of Kabbalah by the World's Foremost Authority. John Authority. John Wiley & Sons. p. 302. ISBN 302. ISBN 9780787988265. 9780787988265. Retrieved Retrieved 2015-04-08. Samuel, G. (2007). The Kabbalah Handbook: A Concise Encyclopedia of Terms and Concepts in Jewish Mysticism. Jeremy P. Tarcher/Penguin. pp. 2–327. 327. ISBN ISBN 9781585425600. 9781585425600. Retrieved 2015-04-08. "Under Duress in VaYeshev: The Shalshelet | Jewish Boston Blogs". jewishboston.com. Blogs". jewishboston.com. Retrieved 2015-04-08. "On Not Trying to Be What You Are Not - Covenant & Conversation - Parsha". chabad.org. Parsha". chabad.org. Retrieved 2015-04-08. Jacobs, L. (1995). The (1995). The Jewish Religion: A Companion. Oxford Companion. Oxford University Press. p. 65. ISBN 65. ISBN 9780198264637. 9780198264637. Retrieved Retrieved 201504-08.
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Goldstein, E. (2008). The (2008). The Women's Torah Commentary: Commentary: New Insights from Women Rabbis on the 54 Weekly Torah Portions. Jewish Lights Publishing. p. 64. ISBN Portions. 9781580233705. Retrieved 9781580233705. Retrieved 2015-04-08. Isaacs, R.H. (2006). A Taste of Torah: An Introduction to Thirteen Challenging Bible Stories. Stories. URJ Press. p. 73. ISBN 9780807408131. Retrieved 9780807408131. Retrieved 2015-04-08. Telushkin, J. (1991). Jewish Literacy: The Most Important Things to Know About the Jewish Religion, Its People, and Its History. HarperCollins. p. 24. ISBN 9780688085063. History. Retrieved 2015-04-08. Concordance of the Hebrew accents in the Hebrew Bible: Concordance ..., Volume 1 By James D. Price, page 6 Concordance of the Hebrew accents in the Hebrew Bible: Concordance ..., Volume 1 By James D. Price, page 5
8. Zakef Katan Form
Ashkenazi
Sefardi
Italian
Teimani
Zaqeif Qatan Zaqeif Qaton Zaqeif Qaton Zaqeif Qaton The Zakef katan ( , with other variant English spellings), often referred to simply as "Katan," is a cantillation mark commonly found in the Torah, Haftarah, Haftarah, and other books of the Hebrew Bible. the Bible. The note is the anchor and final one of the Katon group, which also can include the Mapach, Pashta, Munach, or Yetiv. Yetiv. It is one of the most common cantillation marks. There is no limit to the number of times the Katan group can appear in a verse, and often, multiple Katan groups appear in succession. The most times in succession the group occurs is four.
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The symbol for the Zakef katan is a colon (:). It is placed on the syllable of the word that is accented. The Zakef katan is one of two versions of the Zakef trope, the other being Zakef gadol. The Hebrew word translates into English as upright. translates as small.
The Katan group In the Katan group, the trope can appear in the following patterns: Mapach Pashta Munach Zakef-Katan Mapach Pashta Zakef-Katan Pashta Munach Zakef-Katan Pashta Zakef-Katan Munach Zakef-Katan Zakef-Katan Yetiv Munach Zakef-Katan Yetiv Zakef-Katan
Total occurrences Book Torah
Number of appearances 6992
Genesis
1879
Exodus
1474
Leviticus
987
Numbers
1359
Deuteronomy
1293
Nevi'im
7203
Ketuvim
4843
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Melody
References: A compendious grammar of the Hebrew language By G. F. R. Weidemann, page 48 Chanting the Hebrew Bible By Joshua R. Jacobson, page 51 Concordance of the Hebrew accents in the Hebrew Bible: Concordance ..., Volume 1 By James D. Price, page 6 Chanting the Hebrew Bible By Joshua R. Jacobson, page 117 Concordance of the Hebrew accents in the Hebrew Bible: Concordance ..., Volume 1 By James D. Price, page 5
9. Zakef Gadol Form
Ashkenazi
Sefardi
Italian
Teimani
Zaqeif gadol Zaqeif Gadol Zaqeif Gadol Zaqeif Gadol Zakef Gadol (Hebrew: , with variant English spellings) is a cantillation a cantillation mark that is commonly found in the Torah the Torah and Haftarah. It Haftarah. It is represented by a vertical line on the left and two dots one on top of the other on the right. The Zakef gadol is one of two versions of the Zakef trope. The other is the Zakef katan, katan, part of the Katan group. group. A zakef segment, which includes either a zakef gadol or katan, will either be followed by another zakef segment or the Etnachta group, usually group, usually starting with a Mercha. a Mercha. Page 5 52 o of 9 95
The Zakef gadol generally functions as a separator between two segments of a verse. Words that bear the zakef gadol are generally short with no preceding conjunctive. It is used in situations where a Zakef katon would be expected, but where there is only a single word. The Hebrew word translates into English as upright.
translates as large.
Total occurrences Book Torah
Number of appearances 524
Genesis
175
Exodus
99
Leviticus
56
Numbers
125
Deuteronomy
69
Nevi'im
395
Ketuvim
312
References: Chanting the Hebrew Bible By Joshua R. Jacobson, page 148 The Art of Cantillation, Volume 2: A Step-By-Step Guide to Chanting Haftarot ... By Marshall Portnoy, Josée Wolff, page 36 Chanting the Hebrew Bible By Joshua R. Jacobson, page 117 Elements of Hebrew by an Inductive Method By William Rainey Harper, page 25 Concordance of the Hebrew accents in the Hebrew Bible: Concordance ..., Volume 1 By James D. Price, page 6 Concordance of the Hebrew accents in the Hebrew Bible: Concordance ..., Volume 1 By James D. Price, page 5
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10. Tifcha Form
Ashkenazi
Sefardi
Italian
Teimani
Tifcha
Tarcha
Tarcha
Netuyah
Tifcha (Hebrew: , also spelled Tifkha, Tipcha and other variant English spellings) is a cantillation a cantillation mark commonly found in the Torah, Torah, Haftarah, Haftarah, and other books that are chanted. In Sephardic and Oriental traditions, it is called Tarcha, meaning "dragging" or "effort". The Tifcha is found in both the the Etnachta group as the second member of that group, and in the Sof passuk group, though the melody varies slightly in each. While it is a weak sound, it is considered to be stronger than a a Tevir. The Hebrew word translates into English as diagonal. It is related to the word tefach ( , measurement of the palm). The tifcha does not have a separating value of its own, as it is in the middle of a set of words. Tifcha occurs in the Torah 11,285 times, more than any other trope sound. Tifcha is the only trope sound to appear more than 10,000 times in the Torah. The first word of the Torah (Bereshit) is on a Tifcha.
Total occurrences Book Torah
Number of appearances 11,285
Genesis
2968
Exodus
2350
Leviticus
1667
Numbers
2435
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Book Deuteronomy
Number of appearances 1865
Nevi'im
9756
Ketuvim
6497
Melodies Melodies for tifcha, as for all other othe r cantillation marks, is different in different traditions. The diagrams below show the PolishLithuanian tradition. In Ethnachta group
In Sof Passuk group
Occurrence rules In the Etnachta group, the tifcha will always occur, regardless of whether or not there is a Mercha. Mercha. Before a Sof Passuk, the Tifcha can only occur in conjunction with a Mercha. References: Chanting the Hebrew Bible By Joshua R. Jacobson, page 9 Delimitation criticism: a new tool in biblical scholarship By Marjo Christina Annette Korpel, Josef M. Oesch, page 91
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Concordance of the Hebrew accents in the Hebrew Bible: Concordance ..., Volume 1 By James D. Price, page 6 Concordance of the Hebrew accents in the Hebrew Bible: Concordance ..., Volume 1 By James D. Price, page 5 An easy, practical Hebrew grammar: with exercises for translation ..., Volume 2 By Ph Mason, Herman Hedwig Bernard, page Bernard, page 239 An easy, practical Hebrew grammar: with exercises for translation ..., Volume 2 By Ph Mason, Herman Hedwig Bernard, page 240
11. Rivia Form
Ashkenazi
Sefardi
Italian
Teimani
/ Revi’a/revi’i
Revi’a
Revi’a
Revi’/Ravi’a
The Rivia (Hebrew: , also sometimes called Rivi'i, with other variant English spellings) is a cantillation a cantillation mark commonly found in the Torah, the Torah, Haftarah, Haftarah, and and other biblical texts. Rivia is considered to have medium strength. It is stronger than a Pashta or or Tevir, Tevir, but but weaker than a Zakef a Zakef or or Tipcha. Tipcha. The Rivia can occur either by itself, or following one or two Munachs. When Munachs. When there are two Munachs prior to a Rivia, the first Munach has a long melody, and the second one is short. When there is one Munach, it is short. The Hebrew word means fourth. It is therefore represented by a diamond-shaped mark.
Total occurrences Book Torah Page 5 56 o of 9 95
Number of appearances 2430
Book
Number of appearances
Genesis
610
Exodus
504
Leviticus
312
Numbers
497
Deuteronomy
507
Nevi'im
2239
Ketuvim
1672
Melody The Rivia is read in a slow, downward tone, with a pause in the middle breaking upward.
References: Chanting the Hebrew Bible By Joshua R. Jacobson, page 102 The Art of Cantillation, Volume 2: A Step-By-Step Guide to Chanting Haftarot ... By Marshall Portnoy, Josée Wolff, page 43 Concordance of the Hebrew accents in the Hebrew Bible: Concordance ..., Volume 1 By James D. Price, page 6 Concordance of the Hebrew accents in the Hebrew Bible: Concordance ..., Volume 1 By James D. Price, page 5
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12. Zarka (Trope) Form
Ashkenazi
Sefardi
Italian
Teimani
Zarqa
Zarqa
Zarqa
Tzinnor
Zarka or zarqa (Hebrew: , with variant English spellings) is a cantillation mark found in the Torah, Haftarah, Haftarah, and other books of the Hebrew the Hebrew Bible. It Bible. It is usually found together with the Segol, with Segol, with a Munach a Munach preceding either or both. The symbol for a Zarka is a 90 degrees rotated, inverted S. The Hebrew word translates into English as scatterer , since it is a scattering of notes. Zarka is part of the Segol group. In this group, Zarka is the connector and Segol is the separator.
Zarka, Tsinnor and Tsinnorit Zarka is also sometimes called tsinnor. Properly speaking, tsinnor is the name it receives when appears on the three poetic books (Job, Proverbs and Psalms, or the books, from their initials in Hebrew), and zarqa the name it gets on the remaining 21 books of the Hebrew Bible (also known as the prosaic books). Both sets of books use a different cantillation system. Caution must be taken not to confuse this mark with the very similar mark mark tsinnorit, tsinnorit, which has the same shape but different position and use. They differ in the following: Zarqa/tsinnor is always postpositive, which means that it is always placed after the consonant, that is, shows up to the left side: . Tsinnorit is always centered above it: . Zarqa/tsinnor is a distinctive cantillation symbol both on the 21 books and the 3 books, while tsinnorit appears only on the 3 books, and always combined with a second mark (merkha or mahapakh) mahapakh) to form a conjunctive symbol (called merkha metsunneret and mahpakh metsunnar, respectively).
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Note that both marks have been wrongly named by Unicode. Zarqa/tsinnor corresponds to Unicode "Hebrew Unicode. accent zinor", code point U+05AE (where "zinor" is a misspelled form for tsinnor), while tsinnorit maps to "Hebrew accent zarqa", code point U+0598.
Total occurrences Book Torah
Number of appearances 371
Genesis
73
Exodus
80
Leviticus
56
Numbers
96
Deuteronomy
66
Nevi'im
186
Ketuvim
182
Melody
References: Chanting the Hebrew Bible By Joshua R. Jacobson, page 61 Art of Torah Cantillation: A Step-by-step Guide to Chanting Torah By Marshall Portnoy, Josée Wolff, page 59 "Hebrew Cantillation Marks And Their Encoding: The 21 books and the 3 books". "Hebrew Cantillation Marks And Their Encoding: Error pertaining to the characters U+0598 and U+05AE".
Page 5 59 o of 9 95
"Unicode Technical Note #27: "Known Anomalies in Unicode Character Names", Appendix A". "Unicode Technical Note #27: "Known Anomalies in Unicode Character Names"". Concordance of the Hebrew accents in the Hebrew Bible: Concordance ..., Volume 1 By James D. Price, page 6 Concordance of the Hebrew accents in the Hebrew Bible: Concordance ..., Volume 1 By James D. Price, page 5
13. Pashta Form
Ashkenazi
Sefardi
Italian
Teimani
Pashta
Qadma
Pashta
Azla
(Shenei) Pashtin
-
Shenei Pashtin Terei qadmin /Pashtayim
Pashta (Hebrew: ) is a common common cantillation mark found in the Torah, the Torah, Haftarah, Haftarah, and and other books of the Hebrew the Hebrew Bible. It Bible. It is part of the Katan the Katan group. Its mark symbol is identical to that of the Kadma. the Kadma. While Kadma and Pashta use the same symbol, Pashta is distinct from Kadma in the placement of the symbol. Kadma is always placed on the accented syllable, while Pashta is placed on the last letter as well as on the accented syllable, if it's not the last. The Hebrew word translates into English as stretching out.
Occurrences In the Katan group, the Pashta can be found either following a Mahpach, or with the Mahpach absent. Following the Pashta Mahpach, Page 6 60 o of 9 95
will either be a Munach a Munach-Zakef -Zakef katan or just a Zakef katan. The Pashta can also occur before the Segol the Segol group.
Total occurrences Book Torah
Number of appearances 5429
Genesis
1428
Exodus
1134
Leviticus
777
Numbers
1055
Deuteronomy
1039
Nevi'im
5935
Ketuvim
3916
Melody
References: Chanting the Hebrew Bible By Joshua R. Jacobson, page 221 Concordance of the Hebrew accents in the Hebrew Bible: Concordance ..., Volume 1 By James D. Price, page 6 Concordance of the Hebrew accents in the Hebrew Bible: Concordance ..., Volume 1 By James D. Price, page 5
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14. Yetiv Form
Ashkenazi
Sefardi
Italian
Teimani
Yetiv
Yetiv
Shofar Yetiv
Yetiv
Yetiv ( ) is a cantillation mark found in the Torah, Haftarah, and other books of the Hebrew Bible. Haftarah, Bible. It is found in the Katon group in some occurrences in lieu of the more common MahpachMahpach-Pashta Pashta clause, generally on one- or twosyllable words. The Yetiv uses the same < symbol as the Mahpach, but when it is present, the < comes at the beginning of the word, unlike in a Mahpach, it is placed under the letter of the first syllable that is stressed. It is found to the right of the vowel. There is also no Pashta. In print, the Yetiv will sometimes be distinguished from the Mahapach by being more acutely angled, but in the identical position. The Hebrew word translates into English as sitting.
Total occurrences Book Torah
Number of appearances 356
Genesis
79
Exodus
90
Leviticus
50
Numbers
72
Deuteronomy
65
Nevi'im
368
Ketuvim
179
Page 6 62 o of 9 95
Melody The Yetiv starts off with a very high note, then drops low very suddenly.
References: Chanting the Hebrew Bible By Joshua R. Jacobson, page 100 Concordance of the Hebrew accents in the Hebrew Bible: Concordance ..., Volume 1 By James D. Price, page 6 Concordance of the Hebrew accents in the Hebrew Bible: Concordance ..., Volume 1 By James D. Price, page 5
15. Tevir Form
Ashkenazi
Sefardi
Italian
Teimani
Tevir
Tevir
Tevir
Tavra
Tevir (Hebrew: , with variant English spellings including T'vir and Tebir) is a cantillation mark commonly found in the Torah, Haftarah, Haftarah, and other Hebrew biblical books. It can be found independently or it can follow any number of other cantillation marks, very commonly a Mercha or Darga. Darga. The Hebrew word translates into English as broken.
Total occurrences Book Torah Page 6 63 o of 9 95
Number of appearances 2678
Book
Number of appearances
Genesis
623
Exodus
585
Leviticus
417
Numbers
576
Deuteronomy
477
Nevi'im
1837
Ketuvim
1329
Melody The Tevir is sung on a low tone, going downward at the beginning and upward at the end.
References: A Hebrew grammar: containing a copious and systematic development of the ... By Samuel Ransom, page 207 Chanting the Hebrew Bible By Joshua R. Jacobson, page 113 Concordance of the Hebrew accents in the Hebrew Bible: Concordance ..., Volume 1 By James D. Price, page 6 Concordance of the Hebrew accents in the Hebrew Bible: Concordance ..., Volume 1 By James D. Price, page 5
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16. Pazer Form
Ashkenazi Pazeir
Sefardi
Italian
Teimani
Pazeir Gadol Pazeir Gadol
-
Pazer (Hebrew: ) is a cantillation a cantillation mark found in the Torah, the Torah, Haftarah, and other books of the Hebrew Bible. Haftarah, Bible. The pazer is generally followed by a Telisha ketana or gedola; gedola; on rare occasions when it is followed by another Pazer. The Pazer is used to prolong a word significantly during the reading. This places strong emphasis on the meaning of the particular word. The Hebrew word translates into English as distribute or disseminate. This relates to the high number of notes in its melody. It shows the distribution of divinity.
Total occurrences Book Torah
Number of appearances 154
Genesis
29
Exodus
29
Leviticus
27
Numbers
36
Deuteronomy
33
Nevi'im
177
Ketuvim
284
Page 6 65 o of 9 95
Melody
References: Tuning the Soul: Music As a Spiritual Process in the Teachings of Rabbi ... By Chani Haran Smith, page 29 Tit'haru! By Avigdor Nebentsal, page 162 A river flows from Eden: the language of mystical experience in the Zohar By Melila Hellner-Eshed, page 26465 Concordance of the Hebrew accents in the Hebrew Bible: Concordance ..., Volume 1 By James D. Price, page 6 Concordance of the Hebrew accents in the Hebrew Bible: Concordance ..., Volume 1 By James D. Price, page 5
17. Karne Parah Form
Ashkenazi
Sefardi
Italian
Teimani
Qarnei Farah / Qarnei Farah Qarnei Farah Qarnei Farah Pazer Gadol Karne parah (Hebrew: , also spelled Qarnei Farah and other variant English spellings) is a cantillation a cantillation mark found only once in the entire entire Torah (Numbers 35:5), and once in the Page 6 66 o of 9 95
Book of Esther, Esther, immediately following the identically unique Yerach ben yomo. The yomo. The symbol of the Karne para is that of the Telisha ketana and gedola together. The melody, likewise, is that of these two more common cantillation sounds put together. The Hebrew words translate into English as cow's horns.
In the Torah The rare trope sound in the Torah appears in Numbers 35:5 on the word B'amah ( , cubit), immediately following the word Alpayim ( , two-thousand), on which an equally exclusive Yerach ben yomo is used, on the first of four occurrences of this phrase in the verse. In each of the phrase's four appearances, a different set of trope. The Yerach ben yomo followed by the Karne Parah is found on the first of these four instances. On the other three, respectively, are a Kadma V'Azla, a V'Azla, a Munach Munach Rivi'i, Rivi'i, and and a Mercha a Mercha Tipcha. Tipcha. This is representative of the way mitzvot way mitzvot are performed in real life. When one first performs a mitzvah, being a new experience, it is performed with great enthusiasm. The unusual trope signify the one-time occurrence of the mitzvah being a new experience. The second instance is on a Kadma-V'Azla, a note that is recited highly, showing that the high is still alive. The third is on a Munach-Rivi'i, a note that is going downward, showing that enthusiasm is going down. The fourth and final occurrence being on a Mercha-Tipcha, a common set that are recited in a lazy mode as if they are basically being recited without a melody, show the monotony of performing a mitzvah after performing it so many times. Altogether, this verse shows the importance of performing a mitzvah that must be performed regularly, despite its monotony. It is an encouragement to bring new light into each time on performs a mitzvah in order to renew the excitement, Page 6 67 o of 9 95
and even when one cannot do so, to perform the mitzvah regardless.
In the Book of Esther The only other time a Karne parah is read in public is in the Book of Esther, Esther, on the word Haman, at Esther 7:9. 7:9. Since the Book of Esther is read twice in a year in Orthodox tradition while the part of Masei containing this trope is read just once, the reading in the Book of Esther is actually read more often. Total occurrences Book Torah
Number of appearances 1
Genesis
0
Exodus
0
Leviticus
0
Numbers
1
Deuteronomy
0
Nevi'im
3
Ketuvim
9
Melody
References: 1) http://www.koltorah.org/old/volume-19/summer-issue
Page 6 68 o of 9 95
2) http://mattrutta.blogspot.com/2006/07/dvar-torah-matotmasei.html 3) Concordance of the Hebrew accents in the Hebrew Bible: Concordance ..., Volume 1 By James D. Price, page 6 4) Concordance of the Hebrew accents in the Hebrew Bible: Concordance ..., Volume 1 By James D. Price, page 5
18. Telisha Ketana / Gedola Form
Ashkenazi
Sefardi
Italian
Teimani
Telisha Qetannah
Talsha
Tarsa
Telisha Qetannah
Telisha Gedolah
Tirtzah
Talsha
Telisha Gedolah
Telisha (Hebrew: ) is one of two cantillation two cantillation marks found in the the Torah, Haftarah, Torah, Haftarah, and other books of the Hebrew Bible. There are two versions of the Telisha: Telisha ketana ( ) and Telisha gedola ( ), the latter of which has a longer melody and higher peak. The Telisha trope can occur independently or can follow a Pazer or one of several other trope sounds. The Telisha ketana must be followed by a Kadma. The Hebrew word Kadma. translates into English as detached. This is because they are never linked to the following note as a single phrase. refers to little (the shorter note) and
to great (the longer note).
Total occurrences Book Torah Genesis Page 6 69 o of 9 95
Telisha Ketana
Telisha Gedola
451
266
92
51
Book
Telisha Ketana
Telisha Gedola
Exodus
87
42
Leviticus
71
56
Numbers
88
50
Deuteronomy
113
67
Nevi'im
413
238
Ketuvim
350
335
Melody While the names "Telisha Ketana" and "Telisha Gedola" are 6 syllables each, they are usually applied to words with far fewer syllables, often just one. In one-syllable words, only the notes leading to and from the peak are included. In multiple-syllable words, the additional syllables are recited at the level of the first note leading up to the peak. Telisha Ketana
Telisha Gedola
Page 7 70 o of 9 95
References: A compendious grammar of the Hebrew language By G. F. R. Weidemann, page 49 Concordance of the Hebrew accents in the Hebrew Bible: Concordance ..., Volume 1 By James D. Price, page 241 Concordance of the Hebrew accents in the Hebrew Bible: Concordance ..., Volume 1 By James D. Price, page 6 Concordance of the Hebrew accents in the Hebrew Bible: Concordance ..., Volume 1 By James D. Price, page 5
19. Geresh Form
Ashkenazi
Sefardi
Italian
Teimani
Geireish /Azla
Gerish
Geireish/Azla
Tares
Geresh (Hebrew: , with variant English spellings) is a cantillation mark found in the Torah, Haftarah, Haftarah, and other books of the Hebrew the Hebrew Bible. It Bible. It is most often found together with the Kadma, in the Kadma, in which case the pair is known as Kadma-V'Azla, but it can also be found independently, in which case it is referred to as Azla Geresh or simply as Geresh. The Geresh occurs 1733 times in the Torah in the Kadma-V'Azla pair, and 1112 times separately. The Hebrew word translates into English as driving out.
Total occurrences Book
Geresh
Azla
1112
1733
Genesis
244
427
Exodus
228
373
Leviticus
175
307
Torah
Page 7 71 o of 9 95
Book
Geresh
Azla
Numbers
223
393
Deuteronomy
242
413
Nevi'im
957
1492
Ketuvim
780
1240
Melody
References: 1) Concordance of the Hebrew accents in the Hebrew Bible: Concordance ..., Volume 1 By James D. Price, page 6 2) Concordance of the Hebrew accents in the Hebrew Bible: Concordance ..., Volume 1 By James D. Price, page 5 20. Gershayim Form Ashkenazi Geirshayim
Sefardi
Italian
Teimani
Shenei Gerishin
Shene Gerishin
Tarsin
Gershayim (Hebrew , with variant English spellings) is a cantillation mark that is found in the Torah, Haftarah, Haftarah, and other books of the Hebrew Bible. Bible. The Hebrew word translates into English as double geresh. double geresh. Page 7 72 o of 9 95
Total occurrences Book
Number of appearances
Torah
510
Genesis
113
Exodus
99
Leviticus
76
Numbers
114
Deuteronomy
108
Nevi'im
447
Ketuvim
341
Melody
References: 1) Concordance of the Hebrew accents in the Hebrew Bible: Concordance ..., Volume 1 By James D. Price, page 6 2) Concordance of the Hebrew accents in the Hebrew Bible: Concordance ..., Volume 1 By James D. Price, page 5 21. Munach Form
Ashkenazi
Sefardi
Italian
Munach Legarmeih
Paseiq
Legarmeih
Munach
Shofar Holeich
Shofar illui
Page 7 73 o of 9 95
Teimani -
The Munach (Hebrew: , also spelled Munah or Munakh), translating to English as "to rest," is a common cantillation sound. In Sephardi and Oriental traditions it is often called Shofar holekh. It is marked with a right angle below the corresponding word. The munach is found in various groups, including the Katon, Etnachta, and Segol groups. One or more munachs can be followed by many different trope sounds, including Zakef katon, Etnachta, Rivia, Zarka, Segol, Segol, and Pazer. It is normally used when the number of syllables in a Pazer. phrase are so long that an extra note is required to accommodate all the syllables. The munach is normally a short note. But when it is the first of two munachs followed by a Revia, it Revia, it has a longer melody. In this case it may also be called legarmeh ( ).
Appearances The munach has the following appearances in the following sequences: Katan group: Mahpach group: Mahpach-Pashta-Pashta-Munach Munach-Zakef -Zakef katan Etnachta group: Mercha group: Mercha-Tipcha-Tipcha-Munach Munach-Etnachta -Etnachta Segol group: Munach-ZarkaMunach-Zarka-Munach Munach-Segol -Segol Rivia group: Munach-Munach-Rivia Munach-Munach-Rivia * Pazer/Telisha: Munach-Munach-Pazer Munach-Munach-Pazer (sometimes)-Telisha (sometimes)-Telisha ketana or gedola
* When there are two Munachs M unachs before a Rivia (legarmeh ), there is generally a vertical line (|) drawn between the words to indicate this. The munach as shown is not always present in all cases. Occasionally, in the Katon group, a second Munach will be inserted. This occurs when the words have more syllables, and cannot be accommodated by a single munach. Munach occurs in the Torah 8777 times. Legarmeh occurs 283 times.
Page 7 74 o of 9 95
Total occurrences Book
Munach
Legarmeh
8777
283
Genesis
2271
60
Exodus
1835
62
Leviticus
1270
45
Numbers
1748
60
Deuteronomy
1653
56
Nevi'im
8624
337
Ketuvim
6150
203
Torah
Melody Katon group
Etnachta group
Page 7 75 o of 9 95
Rivia group The Munach preceding another Munach before a Rivia:
The Munach immediately preceding a Rivia:
Segol group Before a Zarka:
Before a Segol:
Page 7 76 o of 9 95
Telisha group
Mnemonic Device Some Bar-mitzvah instructors help their students remember the right-angle symbol of Munach by telling their students to think of the square framed glasses which were typically worn by the engineers involved in the moon landing which popular in the late 1960s. References: The Art of Cantillation, Volume 2: A Step-By-Step Guide to Chanting Haftarot ... By Marshall Portnoy, Josée Wolff, page 26 Outlines of Hebrew Accentuation By A. B. Davidson, page 39 Outlines of Hebrew Accentuation By A. B. Davidson, page 58 Concordance of the Hebrew accents in the Hebrew Bible: Concordance ..., Volume 1 By James D. Price, page 6 Concordance of the Hebrew accents in the Hebrew Bible: Concordance ..., Volume 1 By James D. Price, page 5
22.Mercha 22. Mercha Form
Ashkenazi
Sefardi
Italian
Teimani
Meircha
Ma-arich
Ma-arich
Ma-archa
Page 7 77 o of 9 95
Mercha (Hebrew: , also spell ed Merkha and other variant English spellings) is a cantillation a cantillation mark commonly found in the Torah, Haftarah, Haftarah, and other books that are chanted. The mercha is found in several trope groups, though the melody varies from one use to the next. It is the beginning of the Etnachta group, can be found either once or twice preceding the Sof passuk, the passuk, or can occasionally precede the Pashta in the Katon group or a Tevir. The 9117 times Mercha is found in in the Torah 9117 is the second most of any trope sounds. Only Only Tipcha occurs more often. The Hebrew word translates into English as comma.
Total occurrences Book Torah
Number of appearances 9117
Genesis
2415
Exodus
1879
Leviticus
1371
Numbers
1859
Deuteronomy
1595
Nevi'im
7672
Ketuvim
5235
Melody In Etnachta group
Page 7 78 o of 9 95
In Sof Passuk group First appearance (before Tipcha)
Second appearance (after Tipcha)
References: Concordance of the Hebrew accents in the Hebrew Bible: Concordance ..., Volume 1 By James D. Price, page 6 Concordance of the Hebrew accents in the Hebrew Bible: Concordance ..., Volume 1 By James D. Price, page 5
23. Mahpach Form Ashkenazi
Sefardi
)
Italian
Teimani
(
Mahpach (Shofar) ehuppach Shofar Hafuch Mehuppach Page 7 79 o of 9 95
Mahpach (Hebrew , common cantillation mark other books of the Hebrew the Hebrew and it frequently begins Mahpach is <.
with variant English spellings) is a found in the Torah, Torah, Haftarah, Haftarah, and Bible. It is part of the Katan Bible. It the Katan group, the group. The symbol for the
Mahpach is always followed by a Pashta. Pashta. This is because Mahpach is a conjunctive, a conjunctive, showing showing a connection with the word that follows. When the Mahpach is found, the < is placed under the syllable that is most heavily stressed. The variant Yetiv variant Yetiv trope uses the same < symbol as the Mahpach, but does not have a Pashta that follows. Mahpach is found in the Torah 3042 times. t imes. The Hebrew word translates into English to reversal. The original symbol looked more like a sideways U than a V (to represent going forward then turning back around), but this got changed because it was easier for printers to print, as modern keyboards have the < the < symbols.
Total occurrences Book Torah
Number of appearances 3042
Genesis
798
Exodus
655
Leviticus
452
Numbers
568
Deuteronomy
569
Nevi'im
3449
Ketuvim
2096
Page 8 80 o of 9 95
Melody The Mahpach is sung on a high note until the final syllable, which is lower.
References: Chanting the Hebrew Bible By Joshua R. Jacobson, page 54 Chanting the Hebrew Bible By Joshua R. Jacobson, page 221 Concordance of the Hebrew accents in the Hebrew Bible: Concordance ..., Volume 1 By James D. Price, page 6 Concordance of the Hebrew accents in the Hebrew Bible: Concordance ..., Volume 1 By James D. Price, page 5
24.Darga Form
Ashkenazi
Sefardi
Italian
Teimani
Darga
Darga
Darga
Darga
Darga (Hebrew: ) is a cantillation mark commonly found in the Torah, Haftarah, Haftarah, and other books. The symbol for the Darga resembles a backwards Z. The Darga is usually followed by a Tevir. a Tevir. It It is most often found in places where a Tevir clause has two words that are closely related. The Hebrew word translates into English as step. With the Hebrew word tevir meaning "broken," the combination of Darga Tevir means "broken step." Page 8 81 o of 9 95
Darga can also be followed by a Munach a Munach Rivia. Rivia. Darga Darga can also rarely be followed by a Mercha Kefula, Kefula, an altogether rare trope.
Total occurrences Book Torah
Number of appearances 1091
Genesis
253
Exodus
221
Leviticus
171
Numbers
237
Deuteronomy
209
Nevi'im
710
Ketuvim
637
Melody The Darga is recited in a fast, downward slope, as follows:
References: Chanting the Hebrew Bible By Joshua R. Jacobson, page 45 Chanting the Hebrew Bible By Joshua R. Jacobson, page 113 Chanting the Hebrew Bible By Joshua R. Jacobson, page 168
Page 8 82 o of 9 95
Chanting the Hebrew Bible By Joshua R. Jacobson, pages 102-03 Chanting the Hebrew Bible By Joshua R. Jacobson, page 111 Concordance of the Hebrew accents in the Hebrew Bible: Concordance ..., Volume 1 By James D. Price, page 6 Concordance of the Hebrew accents in the Hebrew Bible: Concordance ..., Volume 1 By James D. Price, page 5
25.Kadma 25. Kadma (Trope) Form
Ashkenazi Qadma
Sefardi Azla
Italian Qadma
Teimani -
Kadma (Hebrew , with variant English spellings) is a common cantillation mark found in the Torah, Torah, Haftarah, Haftarah, and other books of the Hebrew Bible. Bible. It can be found by itself preceding certain trope groups, or together with a Geresh, in which case, the pair is known as "Kadma-V'Azla." Kadma has the same symbol as the Pashta, though Kadma is distinct from Pashta in the placement of the symbol. In a Kadma, the symbol is always placed on the accented syllable, while Pashta is placed on the last letter and also on the accented syllable if the last syllable is not the accented one. The symbols for Kadma V'Azla are designed to resemble the fingers of an outstretched hand in a curved position. The Kadma-V'Azla pair occurs 1733 times in the Torah. The word Kadma is related to the Hebrew
(kedma),
east. It is also related to the root , front. The combination of these words translates to going away. Page 8 83 o of 9 95
Melody
Kadma V'Azla The melody for a Kamda V'Azla is a continual string of notes without a break as follows:
References: Chanting the Hebrew Bible By Joshua R. Jacobson, page 221 Jewish liturgy as a spiritual system: a prayer-by-prayer explanation of the nature and meaning of Jewish worship , page 129 Concordance of the Hebrew accents in the Hebrew Bible: Concordance ..., Volume 1 By James D. Price, page 6
26.Mercha 26.Mercha Kefula Form
Ashkenazi
Sefardi
Italian
Mercha Kefulah Terei Ta’amei Terein Chutrin
Teimani -
Mercha kefula ( , with variant English spellings) is a rare cantillation rare cantillation mark that occurs 5 times in the Torah the Torah (once in Genesis, Genesis, once in Exodus, Exodus, once in Leviticus, Leviticus, and twice in Numbers) and Numbers) and once in the Haftarah the Haftarah (for (for Behaalotecha Behaalotecha and for Page 8 84 o of 9 95
the intermediate Shabbat for Chanukah, Chanukah, in the Book of Zechariah. ) ) The Hebrew words translate into English as double mercha. mercha. This name is given since the mark that is used appears like two merchas.
Occurrences The Mercha kefula appears in the following locations in the Torah: Genesis 27:25 Exodus 5:15 Leviticus 10:1 Numbers 14:3 Numbers 32:42
It also occurs in the Haftarah at Zechariah 3:2, 3:2, read on the intermediate Shabbat for Chanukah and for Parashat Behaalotecha.
Total occurrences Book Torah
Number of appearances 5
Genesis
1
Exodus
1
Leviticus
1
Numbers
2
Deuteronomy
0
Nevi'im
3
Ketuvim
4
In the Leningrad Codex, it occurs in these places: Gen 27:25, Ex 5:15, Lev 10:1, Numb 32:42, 14:3, 1 Kings 10:3, 20:29, Ezek 14:4, Hab 1:3, Zech 3:2, Ezra 7:25, Neh 3:38, 2 Chr 9:2, 20:30. Page 8 85 o of 9 95
Melody
References: Concordance of the Hebrew accents in the Hebrew Bible: Concordance ..., Volume 1 By James D. Price, page 6 Concordance of the Hebrew accents in the Hebrew Bible: Concordance ..., Volume 1 By James D. Price, page 5
27. Yerach ben Yomo Form
Ashkenazi
Sefardi
Yeirech Ben Yeirach Ben Yomo/ Galgal Yomo
Italian
Teimani
Yeirach Ben Yomo
Yeirach Ben Yomo
Yerach ben yomo ( , with variant English spellings, also known as Galgal), is a cantillation a cantillation mark that appears only one time in the entire Torah (Numbers 35:5), and once in the Book of Esther. In Esther. In these occurrences, it is followed immediately by a Karne a Karne parah, another parah, another mark that is found only once in the entire Torah. The symbol for this trope is an upside-down Etnachta. The Hebrew words translate into English as day-old moon. Its alternate name English as sphere.
translates into
In the Torah The rare trope sound in the Torah appears in Numbers 35:5 on the word Alpayim ( , two-thousand), which is followed by Page 8 86 o of 9 95
an equally exclusive Karne exclusive Karne Parah on the word B'amah ( , cubit), in the first of four occurrences of this phrase in the verse. In each of the phrase's four appearances, a different set of trope. The Yerach ben yomo followed by the Karne Parah is found on the first of these four instances. On the other three, respectively, are a Kadma V'Azla, a Munach Rivi'i, Rivi'i, and a Mercha Tipcha. Mercha Tipcha. This is representative of the way mitzvot way mitzvot are performed in real life. When one first performs a mitzvah, being a new experience, it is performed with great enthusiasm. The unusual trope signify the one-time occurrence of the mitzvah being a new experience. The second instance is on a Kadma-V'Azla, a note that is recited highly, showing that the high is still alive. The third is on a Munach-Rivi'i, a note that is going downward, showing that enthusiasm is going down. The fourth and final occurrence being on a Mercha-Tipcha, a common set that are recited in a lazy mode as if they are basically being recited without a melody, show the monotony of performing a mitzvah after performing it so many times. Altogether, this verse shows the importance of performing a mitzvah that must be performed regularly, despite its monotony. It is an encouragement to bring new light into each time on performs a mitzvah in order to renew the excitement, and even when one cannot do so, to perform the mitzvah regardless.
In the Book of Esther There is a lesser-known occurrence of the Yerach ben yomo in the Book the Book of Esther, at Esther, at Esther Esther 7:9. This 7:9. This is found on Haman. on Haman. Since Since the name "Haman" is traditionally drowned out by the gragger the gragger during the reading of the Megillah, the Megillah, few few take any notice of the actual trope sound that is being pronounced at this time. Interestingly, in Orthodox in Orthodox Jewish tradition, the Book of Esther is read twice on Purim, and the full reading of the parsha of Page 8 87 o of 9 95
Masei which includes verse 35:5 only occurs once, so the recitation of the Yerach ben yomo in Esther therefore is read more often.
Total occurrences Book Torah
Number of appearances 1
Genesis
0
Exodus
0
Leviticus
0
Numbers
1
Deuteronomy
0
Nevi'im
3
Ketuvim
9
Melody
References: Biblia Hebraica Leningradensia By Aaron ben Moses BenAsher, page 22 Chanting the Hebrew Bible By Joshua R. Jacobson, page 76 http://www.koltorah.org/volume-19/summer-issue Concordance of the Hebrew accents in the Hebrew Bible: Concordance ..., Volume 1 By James D. Price, page 6 Concordance of the Hebrew accents in the Hebrew Bible: Concordance ..., Volume 1 By James D. Price, page 5
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28.Torah 28. Torah Reading Table Torah Reading Table
Books that are read
Readings
Process
Equipment
Torah Haftarah Book of Esther Song of Songs Book of Ruth Ecclesiastes Lamentations Weekly Yom Tov Triennial cycle Aliyah Maftir Shnayim mikra ve-echad targum Ark Bimah Sefer Torah Tikkun Yad Ner Tamid
29.Additional 29.Additional Cantillation The following additional symbols are found in the three poetical books: Their names do not differ among the various traditions. Bentuk
Nama Geire eireiish Muq Muqdam dam
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Bentuk
Nama ill illuy
Bentuk
Nama
Bentuk
Nama
Atnach Hafukh
Dechi
Oleh
Tzinnorit
Ole (Hebrew:
) a cantillation marks found in Psalms,
Proverbs, and Job Proverbs, and Job (the " books). Ole is also sometimes used as a stress a stress marker in texts without cantillation. References: Unicode Character 'HEBREW ACCENT OLE' (U+05AB) Tsinnorit (Hebrew
) is a cantillation mark in the Hebrew the Hebrew
Bible, found at the 3 poetic books, also known as the Bible, books (Job or
in Hebrew, Proverbs Hebrew, Proverbs or
, and Psalms and Psalms or
). It looks like a 90-degrees rotated, inverted S, placed on top of a Hebrew consonant. Hebrew consonant. Tsinnorit Tsinnorit is very similar in shape to Zarka (called tsinnor in the poetic books), but is used differently. It is always combined with a second mark to form a conjunctive symbol:
Tsinnorit combines with (merkha to form merkha metsunneret, a rare variant of merkha that serves mainly sof pasuq. Tsinnorit combines with mahapakh to form mehuppakh metsunnar, also a rare mark, variant of mahapakh that serves mainly azla legarmeh but appears also in the other contexts where mahapakh where mahapakh and and illuy illuy appear.
This mark has been wrongly named by Unicode. Unicode. Zarqa/tsinnor Zarqa/tsinnor corresponds to Unicode "Hebrew accent zinor", code point Page 9 90 o of 9 95
U+05AE (where "zinor" is a misspelled form for tsinnor), while tsinnorit maps to "Hebrew accent zarqa", code point U+0598.
References: "Hebrew Cantillation Marks And Their Encoding. II. Syntax: Conjunctive Marks In The 3 Books". "Unicode Technical Note #27: "Known Anomalies in Unicode Character Names"". "Unicode Technical Note #27: "Known Anomalies in Unicode Character Names", Appendix A"
30. Sequences of Cantillations The rules governing the sequence of cantillation marks are as follows. 1. A verse is divided into two half verses, the first ending with, and governed by, etnachta , and the second ending with, and governed by, sof pasuq . A very short verse may have no etnachta and and be governed by sof pasuq alone. alone. 2. A half verse may be divided into two or more phrases marked off by second-level disjunctives. 3. A second-level phrase may be divided into two or more sub-phrases marked off by third-level disjunctives. 4. A third-level phrase may be divided into two or more subphrases marked off by fourth-level disjunctives. 5. The last subdivision within a phrase must always be constituted by a disjunctive one level down, chosen to fit the disjunctive governing the phrase and called (in the Table below) its "near companion". Thus, a disjunctive may be preceded by a disjunctive of its own or a higher level, or by its near companion, but not by any other disjunctive of a lower level than its own. 6. The other subdivisions within a phrase are constituted by the "default" disjunctive for the next lower level (the "remote companion"). Page 9 91 o of 9 95
7. Any disjunctive may or may not be preceded by one or more conjunctives, varying with the disjunctive in question. 8. A disjunctive constituting a phrase on its own (i.e. not preceded by either a near companion or a conjunctive) may be substituted by a stronger disjunctive of the same level, called in the Table the "equivalent isolated disjunctive". Nearest Other lower preceding level Equivalent Main Preceding lower level disjunctives isolated disjunctive conjunctive(s) disjunctive ("remote disjunctive ("near companion") companion") First level disjunctives Sof pasuq
Mercha
Tifcha
Zaqef qaton
Etnachta
Munach
Tifcha
Zaqef qaton
Segol
Munach
Zarqa
Revia
Shalshelet
Zaqef qaton
Munach
Pashta
Revia
Zaqef gadol
Tifcha
Mercha; Darga Merchakefulah
Tevir
Revia
Munach legarmeh
Geresh, Telishah gedolah, Pazer
Second level disjunctives
Third level disjunctives Revia
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Munach; Darga Munach
Nearest Other lower preceding level Equivalent Main Preceding lower level disjunctives isolated disjunctive conjunctive(s) disjunctive ("remote disjunctive ("near companion") companion") Zarqa
Munach Geresh/ Azla/ (occasionally Gershayim Mercha)
Telisha gedolah, Pazer
Pashta
Mahpach; Qadma Mahpach
Geresh/ Azla/ Gershayim
Telisha gedolah, Pazer
Tevir
Mercha or Darga; Qadma Mercha or Qadma Darga
Geresh/ Azla/ Gershayim
Telisha gedolah, Pazer
Yetiv
Fourth level disjunctives Geresh/Azla
Qadma; Telishah qetannah Qadma
Telisha gedolah
Munach
Pazer
Munach
Qarne farah
Yerach ben yomo
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Gershayim
31. Cantillation Group
Katan Group
Etnachta Group
Sof Passuk Group
Cantillation
Segol Group
Telisha Group
Other
Rare
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Mahpach Pashta Munach Zakef katan Kadma Yetiv Mercha Tipcha Munach Etnachta Mercha Tipcha Mercha Sof passuk Munach Zarka Munach Segol Munach Pazer Telisha Ketana/Gedola Zakef gadol Rivia Gershayim Darga Tevir Kadma (V'Azla) Geresh Shalshelet Mercha kefula Yerach ben yomo Karne parah
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